Julio Gonzlez (1876-1942)
Julio Gonzlez (1876-1942)

Petite tte au triangle

Details
Julio Gonzlez (1876-1942)
Petite tte au triangle
white metal
10 1/4in. (26.2cm), high including base
9 1/8in. (23.1cm), high excluding base
Executed circa 1933
Literature
V. Aguilera Cerni, Julio Gonzlez, Rome 1962 (illustrated p. L). W. Tucker, 'The Sculpture of Gonzlez', Studio International, London, December 1970, no. 928 (illustrated p. 237).
V. Aguilera Cerni, Julio, Joan, Roberta Gonzlez - Itinerario de una dinastia, Barcelona 1973, no. 217 (illustrated p. 264).
J. Withers, Julio Gonzlez, Sculpture in Iron, New York 1978, no. 61 (illustrated p. 59).
M. Fitzgerald, 'Julio Gonzlez in plain view', ARTS Magazine, New York, June 1983 (illustrated p. 105).
J. Merkert, Julio Gonzlez, catalogue raisonn des sculptures, Milan 1987, no. 149 (illustrated p. 147).
Exhibited
Paris, Muse Nationale d'Art Moderne, Julio Gonzlez, February-March 1952, no. 64 (titled 'Jeune fille').
London, Tate Gallery, Julio Gonzlez, September-October 1970, no. 67 (illustrated p. 25). This exhibition later travelled to Montpellier, Muse Fabre, November 1970-January 1971, no. 75.
New York, The Solomon R. Guggenheim, Julio Gonzlez: A Retrospective, March-May 1983, no. 134 (illustrated p. 123). This exhibition later travelled to Frankfurt-am-Main, Stdtische Galerie im Stdelschen Kunstinstitut, Julio Gonzlez 1876-1942 Plastiken, Zeichnungen, Kunstgewerbe, June-August 1983, no. 76 (illustrated p. 122) and Berlin, Akademie der Knste, September-October 1983.
Glasgow, Art Gallery & Museum, Julio Gonzlez, April-June 1990, no. 20 (illustrated p. 74). This exhibition later travelled to London, The Whitechapel Art Gallery, June-August 1990 and Sheffield, Graves Art Gallery, August-September 1990.
Paris, Galerie de France, Une rencontre: Hans Hartung et Julio Gonzlez 1935-1952, January-March 1992, no. 3 (illustrated). This exhibition later travelled to Lugano, Galleria Pieter Coray, April-May 1992.
Bern, Kunstmuseum, Julio Gonzlez - Zeichnen im Raum/Dessiner dans l'espace, June-September 1997, no. 116 (illustrated p. 155).

Lot Essay

"As in the restlessness of the night, the stars seem to indicate points of hope in the sky... . These points in infinity were the precursors of the new art; 'drawing in space'. The real problem to be solved is not only wanting to make a work that is harmonious and perfectly balanced - No! - But to achieve this result by the marriage of the material and space, by the union of real forms and imaginary forms, obtained or suggested by fixed points or perforations, and then, according to the natural law of love, to let them blend and to make them inseparable from one another, like body and spirit. To project and draw in space with the help of new devices, to use this space, and construct with it as if it were a newly acquired material - that is my endeavour." (Julio Gonzlez, 'Picasso Sculpteur et les Cathdrals', reproduced in J. Withers, Julio Gonzlez: Sculpture in Iron, New York 1978, p. 134).

Executed in silver, the present work is one of Gonzlez's seminal masterpieces. Because of the expense of the material, Gonzlez only ever made eight sculptures in silver, yet despite the restrictions of scale imposed by the expense, this exquisite sculpture is perhaps the ultimate expression of 'drawing in space'.

Only a craftsman as familiar and accomplished with metal-working and goldsmithery could create such a unique and elegant work where the scale and technique of the sculpture are ideally matched with the material.

In this perfect 'marriage' between form, space and material, Gonzlez displays all the skills of a master jeweller in the way he brings together the disparate elements of this precious metal figure into a truly magical and enchanting constellation of form.

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